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Leading graphic novel publisher Papercutz’s Free Comic Book Day 2018 title will be a new, never before published story featuring The Only Living Boy by Harvey-award winning creators David Gallaher and Steve Ellis. Inspired by classic pulp novels, old-time radio broadcasts and Saturday morning cartoons, The Only Living Boy has charmed readers, critics and librarians alike over the course of five critically acclaimed graphic novels. Now, in Papercutz’s Free Comic Book Day title The Only Living Boy: Under the Light of the Broken Moon, Gallaher and Ells will delve into the secrets inside the laboratory of the sinister scientist Doctor Once.

In The Only Living Boy, 12-year old Erik Farrell runs away from home only to find himself without his memory, stranded on a patchwork planet with danger lurking around every corner. Every day is a struggle to survive. Erik quickly allies himself with Morgan, a mermaid warrior and Thea, a teenage princess from a mysterious insect race. He’ll need their help to escape the Dreaded Lord Baalikar and the evil Doctor Once and maybe, one day, find his way back home.

The Only Living Boy: Under the Light of the Broken Moon will be available for free at comic shops on May 5th 2018; check your local comic shops for availability.

The beloved pop-icons, the groovy Gumby and the eternally-cute Paul, appear together again in “The Sour Note!,” in the newest issue of the Gumby comic, released this week at comicbook stores throughout North America. Paul makes a special visit stateside to see his old friend Gumby to commemorate the fiftieth anniversary of their fab first encounter. It seems like only “Yesterday,” when the two legendary pop stars first met, but actually the two musicians haven’t been together since 1967. Here, looking straight out of the 60s, Paul rocks his signature haircut with his everlasting message of peace pinned to his paisley lapel and looks as if he hasn’t aged a day. Gumby, ever green, is as flexible and fun-loving as ever. The two might seem like an odd pairing for a comicbook, but as one of Paul’s friends said once, “let it be.”

Of course were talking about, Gumby the green clay boy and the piano-playing pop star Paul Plunk. Art Clokey’s beloved clay creation, Gumby, has entertained children for generations. Paul Plunk first appeared in “Piano Rolling Blues” in December 27, 1967.

Although he had a bit role, his appearance resonated with fans. The long-awaited reunion story, “The Sour Note!,” written and illustrated by Mike Kazaleh, features Gumby, joined by two other notable (no pun intended!) Clokey creations, Henry and Rodgy. They all visit Paul Plunk for advice on dealing with a sour note. Gumby’s band, “The Clayboys,” also make a fun cameo appearance in the same issue, in the story “All That Nin-Jazz,” where Gumby and his pony pal Pokey attempt to become stealthy ninjas.

Out today from Super Genius and Papercutz, The Wendy Project is a 96 page fresh, deeply moving and modern take on the world of J.M. Barrie’s Peter Pan and an extraordinary story about memory and magic, life and loss. Featuring stunning art by Veronica Fish, The Wendy Project is the graphic novel debut of actress, screenwriter and The Wendy Project creator Melissa Jane Osborne. Their collaboration is breathtaking and beautiful and a testament to the power of self-expression and storytelling in the wake of tragedy.

It is a late summer night when 16-year-old Wendy Davies crashes her car into a New England lake with her two younger brothers in the backseat. When she wakes in the hospital, she is told that her youngest brother, Michael, is dead. Wendy — a once rational teenager — shocks her family by insisting that Michael is alive and in the custody of a mysterious flying boy. Placed in a new school, Wendy negotiates fantasy and reality as students and adults around her resemble characters from Neverland. Given a sketchbook by her therapist, Wendy starts to draw. But is “The Wendy Project” merely her safe space, or a portal between worlds? As Wendy works her way through her emotions of loss, sadness and survivor’s guilt she chooses to confront her feelings and, contrary to Peter’s motto . . . grow up.

This publication marks the first time The Wendy Project has been available in book form, following its release online and at comic conventions as a four issue comic book series from Emet Comics, an LA-based publisher dedicated to telling stories created by women and featuring strong female protagonists.

Papercutz has released a Gumby short story by Eisner and Harvey Award-winning cartoonist Kyle Baker, in advance of its new Gumby comic book series debuting on July 5, 2017. Baker’s story entitled “Model-Ty Crew” appears in Gumby #1, alongside a 10-page story by acclaimed writer Ray Fawkes and artist Jolyon Yates, a five page story by writer and editor Jeff Whitman and New York Times bestselling artist Jolyon Yates and a cover by Rick Geary. Upcoming issues will include contributions from a wide array of acclaimed children’s and young adult graphic novel creators, including Art Baltazar, Gregory Benton, Eric Esquivel, Veronica and Andy Fish, Sholly Fisch, Ryan Jampole, Jolyon Yates, Jeff Whitman and others. Each 32 page, $3.99 issue will feature a lead story and a five-page backup story, which will provide the opportunity for high profile creators to try their hand at the adventures of the “little green ball of clay.”

The all new Gumby comic books and upcoming graphic novels are the result of a recently announced partnership between Papercutz and Premavision Inc which allows the children’s graphic novel publisher to create new material based on the hit Gumby. Premavision also recently announced development of a new Gumby television series (in partnership with the Jim Henson Company) and plans for a feature film are also in the works.

Papercutz will collect the first three issues of the Gumby comic as a graphic novel, in both hardcover and trade paperback editions, on November 7, 2017.

It’s new comic book day! What’s everyone getting? What are you excited for? Sound off and let us know! While you wait for shops to open, here’s some comic news and reviews from around the web in our morning roundup.

This Free Comic Book Day, Papercutz releases The Loud House, based on the popular Nickelodeon cartoon series by Chris Savino. From there, we’ll get more of our favorite animated family in comic form in even more releases!

I got a chance to talk to Savino about the series, its influences, and it being made into a comic series.

Graphic Policy: So The Loud House is based on your family. But when did you decide to actually create the series and how long was it in the works?

Chris Savino: I am from a family of 10. I have five sisters and four brothers. I’m number nine. The Loud House is based on my family as far as the idea of what it’s like to grow up in such a crowded household. The original concept for The Loud House was about a boy rabbit with 25 sisters. (Because I am used to being from a big family, 10 didn’t seem crazy enough so I pushed it to extreme numbers.) The initial idea had been floating around in my head for years, but it wasn’t until 2013, when I came to Nickelodeon, that I started trying to figure out what that idea would be. From the time it was a short for the Nickelodeon Animated Shorts Program in early 2013, to the time it was greenlit to series it took about a year. Which in standard terms of development, was very fast.

GP: You’ve said that Peanuts, Dennis the Menace, Garfield, and Calvin and Hobbes were all influences on the series. How does it feel to come full circle to be inspired by comics and see your animated series as a comic?

CS: Oh yes. All of those are major influences, including Krazy Kat (George Herriman), Polly and Her Pals (Cliff Sterrett) and Pogo (Walt Kelly). I used to think the dream would be having a comic strip that was so popular that it would some day be turned into an animated series. Now I dream that the opposite might come true. Having a series that is so popular that it would one day live on as a comic strip. I hope the comic strip aesthetic comes through when watching The Loud House – I’ve said it before and it will always be the same: The Loud House is my love letter to the art of comic strips.

GP: How’d the comic series come to happen and how involved are you?

CS: When Papercutz came to us with the desire to publish a Loud House graphic novel series I jumped at the chance. Again, with its comic aesthetic, it felt that it could be a totally natural transition into comic form. I was very involved in volume one, I wanted to make sure it was a solid template for subsequent volumes, so I asked the artists and writers of The Loud House if they would all participate in making it and they were all too happy to help out! I have very specific ideas about layout and timing in comics, especially funny comics, and wanted to convey those to the team. Now that we have one volume done, I feel it was a pretty solid foundation for the others that follow. Volume two and onward are using new writers and new artists outside of the Loud House crew and it will be exciting to see how they interpret the show.

GP: What does the comic form allow you to do that an animated series might not?

CS: We sometimes come up with ideas for the show that just aren’t big enough to fill an 11-minute episode, so instead of throwing them away we used them as ideas for the comic. We also get a chance to tell stories from other characters’ points of view that we may or may not be able to do on the show as well.

GP: My family too has the thing with the first letter of our names (all B) and me and my brothers are all “Br” to boot. From someone who remembers this fondly growing up myself I have to ask. How often were names messed up by your parents?

CS: Haha. Oh man, so you know the struggle is real. My parents said the wrong name all the time. Sometimes they would go through every name in the household before hitting on the correct name. My sisters are all L names and all four letters and their middle name is all Marie. Sadly, the boys didn’t get that treatment. But if you got called out with the middle name Marie, you knew you were in trouble! “Christopher Marie, get down here right now!!!” Hahaha.

GP: Yeah, I do. Makes me feel so much better that my experience wasn’t unique! Thanks for chatting and look forward to picking up the comic this Free Comic Book Day!

Papercutz—one of the publishers leading the current boom in kids’ graphic novel publishing—will launch Charmz, a new imprint for tween girls on May 2, 2017 with three new graphic novel series. Each of three launch titles have their own distinct look and feel, with subjects and settings ranging from graveyards to new schools, and storylines that share a common theme: a focus on friendships and relationships.

The line of books is being edited by bestselling writer and editor Mariah Huehner, formerly of IDW Publishing and Vertigo/DC Comics. In advance of Mariah McCourt’s appearance at the Los Angeles Times Festival of Books (April 22 and 23) and Aaron Alexovich’s appearance at the C2E2 convention in Chicago that same weekend, Charmz is releasing an excerpt from their graphic novel Stitched.

Stitched by NYT bestselling author Mariah McCourt (Emily & The Strangers) and Aaron Alexovich (Serenity Rose). Crimson Volania Mulch has a problem; she just woke up in a crypt and, besides her name, has no idea of who, where, or what she is. Welcome to the Cemetery of Assumptions, a vast landscape of stones, mausoleums, and secrets. Home to monsters and mayhem, it may also hold the answers to her unknown parentage. Crimson is a resourceful patchwork girl and determined to find them. Along the way, she meets the mysterious Wisteria, who has a tendency to change and a witch named Parameter whose spells tend to go awry. And two boys, Simon and Quinton, who make her feel something besides lost and confused. She must battle ghosts, zombies, and monsters in order to learn where she came from and who her real “mother” is. But will she do it alone, or will she have help from her new friends and unexpected crushes?

Chloe by Greg Tessier and Amandine. Everything was wonderful for young Chloe Blin―she loved her family, even despite their affectionate nickname for her. But everything changes when she starts at a new school. Suddenly, her family is just embarrassing! Chloe wants to meet new people and make new friends, especially with a certain Alexandre, but she’s not sure what to say or wear or who to trust. The home room fashionistas are only too happy to tell her how her clothes look, but can they really be her friends? And what if everyone heard her family’s name for her?

Sweeties by Veronique Grisseaux and Anna Merli. Cherry Costello’s father owns a successful candy store franchise with best-selling chocolates. When her father remarries to the Tanberry family, Cherry now has four new half-sisters and must start at a new school in a new town. Trouble arises as Cherry meets Shay, the boyfriend of her older half-sister, Honey. Plus, the Tanberry twins Skye and Summer learn life is not identical for the both of them. It’s going to take a sweet miracle to overcome the sour tensions in this household!

Perhaps no trend in book publishing has been stronger in recent years than the growth of the kids’ graphic novel category. At the recent Children’s Institute, Nielsen cited 24% growth in year on year sales. Hand in hand with that growth has been the emergence of female readers and female creators like Raina Telgemeier and Noelle Stevenson. But not all female fans of graphic fiction have been served equally. For tween girls who have loved but outgrown properties like The Smurfs or Disney Comics but aren’t quite ready for the more mature content of books like This One Summer or Honor Girl, there’s been a distinct lack of material available. Now that’s all about to change, starting on May 2.

Timed to February’s full moon, Papercutz’s Super Genius imprint has announced that it will publish the definitive edition of High Moon, the acclaimed graphic novel series by writer David Gallaher and artist Steve Ellis. Originally published by DC’s Zuda Comics imprint in 2007 and the Winner of the Harvey Award for Best Online Series, High Moon is a unique western and horror genre mash-up about the investigations of a mysterious bounty hunter, one whose own dark secret emerges every full moon.

Super Genius will publish High Moon: Bullet Holes and Bite Marks this October, followed by volume 2 in May of 2018. For their release of High Moon, Super Genius will remaster the existing art for Volumes One and Two, before concluding the story with all new material in Volume Three. All three graphic novels will feature new covers by artist and co-creator Steve Ellis, the storyboard artist and illustrator on AMC’s Breaking Bad:The Cost of Doing Business and The Walking Dead: Dead Reckoning games, and the co-creator of The Only Living Boy graphic novel series, also written and co-created by Gallaher and published by Papercutz.

In High Moon, former Pinkerton agent and current bounty-hunter Matthew Macgregor investigates a series of strange happenings in a small Texas town. Drought has brought famine and hardship to Blest. The summer heat pushes the temperature to unbearable heights during the day. The nights are even worse– for the streets are haunted by strange, unnatural creatures. And even as Macgregor works to uncover the truth about the creatures, he struggles to keep his own supernatural nature a secret.

The Super Genius editions will be larger than the previous Zuda Comics print edition and will present the landscape formatted series in a removable slipcase that allows it to be racked vertically, maximizing its visibility for retailers and consumers.

All three volumes of High Moon will be published in hardcover at $24.99 and simultaneously in paperback at $14.99. High Moon: Bullet Holes and Bite Marks will be available in bookstores and comic book stores across the United States and Canada on October 17th, 2017.

On Saturday, at Tidewater Comicon, I had the opportunity to do the first interview with writer Tini Howard about her upcoming espionage, sci-fi thriller Skepticsfor Black Mask Studios. The comic is set to come out later this year and features art from Devaki Neogi (Curb Stomp). We also talked about how she broke into comics, her upcoming work on the Barbie: Starlight, and there’s even a surprise cameo from a Marvel character near and dear to both our hearts.

Graphic Policy: I know you broke into comics through the 2013 Top Cow Talent Hunt. How did that come about?

Tini Howard: I was a finalist in the contest in 2013, and my Magdalena: Seventh Sacrament comic debuted in December 2014 on the same day as Secret Six and Bitch Planet. I was in the company of my heroes. Magdalena was my first work for them, and I was pitching various things for Top Cow. As everyone in the industry knows, we kiss a lot of frogs. Then, I got to do Poseidon IX in September 2015. In the meantime, I’ve been doing anthologies like Secret Loves of Geek Girls.

A friend of mine, Chris Sebela, once said, “Your first in year in comics you do one book; the second year, you do three; and in year three, you do ten.” And my third year is crazy because I’ve got a lot of comics coming out. It’s a been a slow ride. Your first book hits Previews, and you think, “Oh, I’ll be doing Batman tomorrow.”, and that’s not how it works.

GP: So, you have The Skeptics coming out from Black Mask later this year. What can Black Mask or general comics readers expect from the series?

TH: I’ve been pitching TheSkeptics as X-Men: First Class meets Project Alpha and James Randi in An Honest Liar meets Grant Morrison’s Kill Your Boyfriend. I’m a huge Grant Morrison fan and love the energy in things like Kill Your Boyfriend , Sex Criminals, and Saga, and the idea that this girl and this guy are on the run together. It’s a dynamic that I love.

Skeptics focuses on that and features two teenagers in Washington DC in the 1960s. There are Russian reports of superpowered individuals, and two teenagers are selected to appear as an American superpowered equivalent in order to prove that the Russian threat is also false. It doesn’t go that way, and hijinks ensue.

Our two main characters are named Max and Mary, and they’re from very different worlds. Mary is a hardworking academic and an American girl while Max is a British criminal. He’s very skilled with sleight of hand and fast talking, and Mary is incredibly intelligent and often underestimated because she’s an African American student in the 1960s. She uses that to her advantage. But it’s cool because she’s very much a good girl. It’s like Kill Your Boyfriend where she’s learning how to be bad and be unafraid to get one up on people. This is while Max is learning to be a better person. They work with a professor of theirs to hopefully disprove the Russian threat.

GP: Your lead character is an African American female scientist in the 1960s. Did you have any real life scientists you were inspired by when creating Mary?

TH: There are actually two female scientists in the series. There is Dr. Santaclara, who is South American, and she is inspired by a family member of mine and also Sophia Loren. We end up with a lot of sexy scientists, like Tony Stark, but there aren’t a lot of women like that in comics, and that’s what we have with Dr. Santaclara, their professor.

And then we have Mary, who is a psych student, and I did a lot of research into academia in the 1960s. You watch a lot of things like Mad Men, and there’s an assumption that a lot of non-white people were relegated to background roles or tragedy stories. In my research, I found out Harvard had its first African American female graduate in the 19th century. It’s stuff you don’t know. I come from a super white background, and my history books didn’t teach me that. The research taught me about women in academia, who were working hard (And I don’t want to say were included in academia because they were pushed out a lot.) back then, and you don’t see them in these kind of stories.

I didn’t want to tell this super aggressive Civil Rights story because I don’t feel like it’s my place. I feel that there are people, who are way more suited to tell that story than me, but, at the same time, I wanted to tell a story about someone who was doing her best, was an intellectual, and was a real person.

GP: I’m a big fan of Devaki Neogi and really enjoyed her work on Curb Stomp. Why was she the perfect artist for this project?

TH: She was my first and only pick, and I got her. I had been friends with her on social media for a while and saw she had some availability. I loved her work on Curb Stomp, and her beautiful covers for another Black Mask book, Kim and Kim that I can’t wait for Mags [Visaggio] to share. Devaki also has a background in fashion illustration, and The Skeptics is a book that isn’t high action. It’s not a superhero book. There’s a lot of quiet tension and not a lot of punching and flying.

I wanted an artist, who was really good at depicting tension, expression, and fashion. Because I love the period, and the mod and preppy styles of the time. Mary is gorgeous with A-line skirts and big curls. Max has all these mod suits, and Dr. Santaclara is this Sophia Loren fabulous woman. Devaki and I have a Pinterest where I pin all these Sixties fashion photos. We get really excited about it.

Devaki was the only artist I had in mind while developing the series, and Matt [Pizzolo] got her because he knew her from some work she had done at Black Mask before. I am excited to work with her. Her style can be this classic comics illustrative style, and it looks just like I dreamed it would.

GP: About Black Mask, why were they the perfect publisher for The Skeptics?

TH: So, I developed The Skeptics not knowing where I wanted it to go. I instantly realized that it didn’t have what a lot of publishers wanted because it’s weird, tense, and historical instead of being a high action, sci-fi book that they’re interested in.

Black Mask is different. I’m a huge fan of a lot of their books, like We Can Never Go Home, which has a lot of quiet moments. I submitted via the open submissions policy and was very lucky. Matt was able to look at my pitch from the slush pile and got back to me very quickly about publishing it. It was a slush pile success story.

GP: What elements of the 1960s are you going to focus on in the themes, designs etc of The Skeptics?

TH: Well, it’s a Cold War story, for one. I’m very interested in academia. I’m originally from DC so that setting is important to me, and the first issue features certain DC landmarks like Ben’s Chili Bowl. It’s big for DC people, but a lot of people might not know it. There’s some influence from Nancy Drew and the Hardy Boys with the mystery solving. Our main characters are always creeping around solving mysteries. The Skeptics has that 1960s pulp paperback feel.

I teasingly have called the year in press materials “1960X” because it is an alternate history book. The president is Nelson Rockefeller. I did an alternate history for a lot of reasons. I didn’t want people to say, “That couldn’t have happened, but still wanted it rooted in reality so I went that route. It’s definitely set in the early 60s; more early seasons of Mad Men than the later seasons.

GP: You’re also working on Barbie comics. How did you get to work on Barbie: Starlight for Papercutz?

TH: I got that job the way lots of things happen in comics. You have a friend, and they’re looking for someone to fill a spot. The editor, Beth Bryan, was putting together a team to do Barbie, and three people had suggested me. I was really honored because I told my first stories with Barbie. My favorite drag queen is Trixie Mattel. Barbie has also had this great reinvention lately where she’s focused being for all girls and removing a lot negativity people have towards the brand.

Barbie Starlight is great. I can’t talk too much about the plot because it ties into the upcoming Barbie Starlight movie, but it’s fun, and there are spaceships. We get to do Barbie in space. And while doing research for it, I found out some of the first Barbie comics were done by Amanda Conner. What great footsteps to be in!

GP: Amanda Conner on Barbie? I gotta track those down!

TH: I know! I saw some of the art, and it’s gorgeous. I love Barbie, and what I’m able to do with her. It’s been a lot of fun, and I watch a lot of Life in the Dreamhouse. I definitely would like to work on some of the other toylines too.

GP: What is the difference in your creative process when working on something licensed or work for hire , like Barbie or Top Cow, than on your own creator owned work?

TH: With license work, there is a licenser that licenses the comics rights to a publisher. And with work for hire, if I pitch to Top Cow, and they love it, they don’t have to get an okay from anyone else. If I write a pitch, and they accept it, I can work on it immediately.

If I write a pitch for Barbie, and my editor at Papercutz loves it, she still has to go to Mattel and see if they like it. That’s one difference in the creative process. You’re not just trying to impress an editor because I’ve had projects where the editor enjoys it, and the licenser doesn’t it. It’s a case of who you’re trying to please thematically. Often, work for hire is a little more flexible because it’s their character, and even if you give them an off the wall idea, it’s theirs to do what they wish. They’re not beholden to a licenser. So, I could do a story about cyborg mermen fighting a sea monster.

GP: I’ve seen some of your critical work for Teen Vogue and Paste. How does writing about comics help with your comics writing?

TH: One thing I’m careful to do because the line between comics journalist and comics creator is very fuzzy is that I don’t write reviews. I just vomit some of my relentless positivity about certain books. For Paste, I write about comics that look good to me, or I got to interview David Baillie from Red Thorn.

GP: That is one sexy book. I’ve got to catch up on it.

TH: Red Thorn is fire. Half the questions I asked were about were about why everyone is so hot. Is it Meghan Hetrick’s fault, or is it yours? I get to talk about creators of the books I like. I get to make lists around theme, like my favorite Robins, or my favorite books about sex or religion.

But I’m careful not to promote work about companies that I write for. That’s something some people choose to do. It’s self-imposed and imposed by the higher-ups. It’s a conflict of interest. It’s not a fair to promote a company’s work on a website when I’m getting paid by the publisher.

My work isn’t “critical”. I’m just sharing the love. Good comics criticism is so valuable, and what you, Emma, Matt, Ashley, and the people at Comicosity do is so valid. If I were being critical of a creator owned work while I’ve got my creator owned book coming out, I think that looks shady, like, “Don’t buy theirs, buy mine.”

Occasionally, I’ll do observational pieces, like about female writers writing male characters, that got a lot of traction, such as Becky Cloonan on Punisher for Marvel. It’s something I am passionate about and want to see more of.

The only critical work I’ve done is the “boring” kind. I wrote an essay on Dick Grayson for an academic book about Robins. It’s critical work in an academic sense. But I don’t know do reviews or “comics criticism”

GP: I have one last for fun question. I’m a huge Jessica Jones fan and know you are too. For some reason, if Marvel gave you the opportunity to write Jessica Jones, what kind of story would you tell about her?

TH: I have a serious Jessica Jones pitch in my head at all times. It would be great if there was this story where Luke was feeling insecure because Jessica seems like she’s on the phone all the time, or doing something she doesn’t want him to know about. But she’s actually secretly reopening Alias Investigations. I have a dream team of who she hires, like the X-Factor Investigations crew, because that’s one of my favorite Marvel runs.

My dream book is Jessica Jones working with Monet, Rictor, and Shatterstar. And they would call Layla Miller to help because she’s in college, or maybe she’s an adult now. Either this book, or a Daughters of the Dragon comic where Dani and Danny and Misty’s daughters are all grown up. Heroes for Hire is my everything.

The settings of Jessica Abel’s work have run the gamut from the streets of Mexico City to the neighborhoods of Los Angeles to behind the scenes at NPR. But this fall she’s breaking new ground. And that ground happens to be on another planet.

Abel’s latest graphic novel, Trish Trash: Rollergirl of Mars is the powerful, positive, and politically aware story of a seven-and-a-half year old girl on Mars (that’s 15 in Earth years). Like most Martys, she and her family struggle to survive. The Mars colony where she lives has become a company town, where the omnipresent Arex corporation keeps humans indentured through a combination of debt and water rationing. Her aunt is struggling to eke out a living as a moisture farmer and her parents went missing on an anthropological mission over a year ago. Trish dreams of escaping her dreary existence by becoming a hover derby star with the local Boreale Bombers. But even if she could make the team, she’s too young to get a contract, and her family is going broke faster than her escape velocity.

So when a half-dead native Martian shows up on her doorstep, that seems like the last thing Trish needs. But choosing to nurse her back to health rather than call the MarsGuard turns out to have all kinds of world-altering after effects. And truly becoming Rollergirl of Mars takes on new urgency, in ways Trish could never predict.

Part science fiction, part rollicking adventure story, Trish Trash: Rollergirl of Mars is also a compelling character study of a young girl who feels trapped by the circumstances of her birth and economic situation. The series also tackles issues of diversity and prejudice head on. In addition to featuring a multi-racial lead character, it also explores issues of prejudice and social injustice through the relationship between the humans and the native Martians who appear in the book. Its universal themes will resonate with tweens, teens and older readers in a way that only the best young adult fiction does. It’s a unique graphic novel and Abel was very selective in picking an English language publishing partner.

Papercutz plans to release the first volume in this three-volume series as an oversized graphic novel in November 2016. But since Abel has been working on the book for a number of years, she’s already created some compelling material to accompany the book’s original publication in France. As a result, eager readers can get a number of cool “sneak previews” of what to expect from her latest offering.

Graphic Policy believes in journalistic integrity and transparency. We will disclose when a product has been given for free for review and/or when no cost has been incurred to the staff so that you may be able to make a fully informed decision as to the opinions provided.

When a product has been provided for free you will see disclosure at the bottom of the article. When such a disclosure does not exist, you can assume that the items have been purchased for review.

- The Management

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